Deception
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Deception
- Instrumentation Combo
- Edition Sheet Music
-
Difficulty Level
- Editor Gerry Mulligan
- Publisher Jazz Lines Publications
- Order no. JLP-8058
incl. tax,
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ships within 2-4 weeks
Description:
RECORDED BY THE MILES DAVIS NONET
ARRANGED BY GERRY MULLIGAN, EDITED BY JEFFREY SULTANOF
(from the performance notes by Jeffrey Sultanof):
Except for a rare few, historians now consider The Miles Davis Nonet one of the most important ensembles in the history of jazz. Certainly such composers as Shorty Rogers, Andre Previn, Marty Paich, John Graas, Jack Montrose, Manny Albam and Andre Hodeir were heavily influenced by the nonet, as their music shows.
Happily, many of the original parts of the sides recorded, plus parts for other compositions and arrangements for this ensemble, were discovered in three cartons of music that Miles Davis put into storage in Philadelphia and reclaimed after his death. In 2002, my edition of 12 scores from the repertoire of this ensemble was published by the Hal Leonard Corporation. An article detailing the editing process and errata in the folio itself will be published by the Journal of Jazz Studies in 2010. These Jazzlines Publications are extensively re-edited, and I now consider these new editions definitive.
Deception was Miles' take on George Shearing's Conception and was recorded on the last Capitol nonet session. The piece is surrounded by mysteries that will never truly be sorted out. It appears that Miles began arranging and copying the piece; there is a two-stave piano sketch and most of the parts available (there is no horn, piano and drum part extant), and while it has never been confirmed, both the piano sketch and parts are in Miles hand for the beginning of the piece. Mulligans hand takes over at about bar 61 on the parts, but each part has a different starting point for Gerrys portion of the arrangement. I am not aware that Mulligan ever commented on this piece, and probably considered it a favor to help out Miles.
A special note on the chord names: since there was no original piano part, it was Rob Duboffs idea to consult the piano part for the Re-birth of the Cool album. Because Mulligan had seen and approved them, many of these chord names were adopted for this publication.
Lastly, alternate parts have been included in the event that you don't have access to a horn in F or tuba. A trumpet 2 part has been included as a substitute for the horn and the tuba part may be played by a bass trombone.
Contents
Alto Saxophone
Baritone Saxophone
Trumpet
Horn in F (or Trumpet 2)
Trombone
Tuba (or Bass Trombone)
Piano
Bass
Drums
ARRANGED BY GERRY MULLIGAN, EDITED BY JEFFREY SULTANOF
(from the performance notes by Jeffrey Sultanof):
Except for a rare few, historians now consider The Miles Davis Nonet one of the most important ensembles in the history of jazz. Certainly such composers as Shorty Rogers, Andre Previn, Marty Paich, John Graas, Jack Montrose, Manny Albam and Andre Hodeir were heavily influenced by the nonet, as their music shows.
Happily, many of the original parts of the sides recorded, plus parts for other compositions and arrangements for this ensemble, were discovered in three cartons of music that Miles Davis put into storage in Philadelphia and reclaimed after his death. In 2002, my edition of 12 scores from the repertoire of this ensemble was published by the Hal Leonard Corporation. An article detailing the editing process and errata in the folio itself will be published by the Journal of Jazz Studies in 2010. These Jazzlines Publications are extensively re-edited, and I now consider these new editions definitive.
Deception was Miles' take on George Shearing's Conception and was recorded on the last Capitol nonet session. The piece is surrounded by mysteries that will never truly be sorted out. It appears that Miles began arranging and copying the piece; there is a two-stave piano sketch and most of the parts available (there is no horn, piano and drum part extant), and while it has never been confirmed, both the piano sketch and parts are in Miles hand for the beginning of the piece. Mulligans hand takes over at about bar 61 on the parts, but each part has a different starting point for Gerrys portion of the arrangement. I am not aware that Mulligan ever commented on this piece, and probably considered it a favor to help out Miles.
A special note on the chord names: since there was no original piano part, it was Rob Duboffs idea to consult the piano part for the Re-birth of the Cool album. Because Mulligan had seen and approved them, many of these chord names were adopted for this publication.
Lastly, alternate parts have been included in the event that you don't have access to a horn in F or tuba. A trumpet 2 part has been included as a substitute for the horn and the tuba part may be played by a bass trombone.
Contents
Alto Saxophone
Baritone Saxophone
Trumpet
Horn in F (or Trumpet 2)
Trombone
Tuba (or Bass Trombone)
Piano
Bass
Drums
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